Beethoven’s output of chamber music foregrounding the flute is early and not extensive, so flautists understandably appropriate arrangements of works for other instruments. Emmanuel Pahud has alighted on the ‘little’ G major Violin Sonata, which appears to respond well to the change of idiom. The problems thrown up in the transfer – the violin’s lower range and double-stopping ability – are surmounted largely satisfactorily in Pahud’s arrangement. But would you want to hear a work so unshakeably wedded to its original form performed in a compromised version? Without a doubt, given the remarkable musicianship of its soloist. If it takes a minute or two to fall fully into step, by the exposition repeat it has truly found its groove, both allegro and assai; the slow movement shows off Pahud’s gorgeous lower register and the finale is full of chattering vivacity.

A recent recording of a similar programme (MDG, 4/20) found much of the original Beethoven flute repertoire not among his most immortal. Perhaps the present disc does not dispel that impression but even the most threadbare music benefits from the kind of advocacy that can be given by a wind-and-string ensemble comprising Berlin and Vienna Philharmonic principals. The Serenade, Op 25, is revealed to be a worthy if not weighty counterpart to its string-trio namesake, Op 8, and the two duos of WoO26 less throwaway than they may appear. The Trio concertante for flute, bassoon and piano is testament to the burgeoning ambition and ability of the precocious teenager.

Pahud is the star but never outshines his partners. Barenboim’s presence is that of facilitator, éminence grise and ever-reliable accompanist. For Beethoven minus the heaven-storming, nothing could be finer.